Historical Dictionary of French Cinema (Historical by Dayna Oscherwitz

By Dayna Oscherwitz

It may be argued that cinema used to be created in France via Louis Lumière in 1895 with the discovery of the cinématographe, the 1st actual motion-picture digital camera and projector. whereas there have been different cameras and units invented prior that have been in a position to projecting intermittent movement of pictures, the cinématographe was once the 1st gadget able to recording and externally projecting photographs in this type of method as to show movement. Early movies comparable to Lumière's La Sortie de l'usine, a minute-long movie of staff leaving the Lumière manufacturing unit, captured the mind's eye of the state and quick encouraged the likes of Georges Méliès, Alice man, and Charles Pathé. over the years, French cinema has been accountable for generating a few of the world's most sensible directors―Jean Renoir, Jean-Luc Godard, François Truffaut, and Louis Malle―and actors―Charles Boyer, Catherine Deneuve, Gérard Depardieu, and Audrey Tautou.

The Historical Dictionary of French Cinema covers the heritage of French movie from the silent period to the current in a concise and recent quantity detailing the improvement of French cinema and significant theoretical and cultural matters on the topic of it. this is often performed via a chronology, an creation, photos, a bibliography, and hundreds and hundreds of cross-referenced dictionary entries on a few of the significant actors, administrators, motion pictures, routine, manufacturers, and studios linked to French cinema. Going past mere biographical details, entries additionally speak about the effect and importance of every person, movie, move, or studio integrated. This certain, scholarly research of the advance of movie in France comes in handy to either the beginner and the specialist alike.

Geography and imaginative and prescient is a chain of non-public reflections by way of top cultural geographer, Denis Cosgrove, at the advanced connections among seeing, imagining and representing the realm geographically. Ranging traditionally from the 16th century to the current day, the essays comprise reflections upon discovery and the function of mind's eye in giving it that means; colonisation and 16th century gardening; the shaping of yank landscapes; wasteland, imperial mappings and masculinity; city cartography and utopian visions; conceptions of the Pacific; the cartography of John Ruskin; and the creative grip of the Equator.

Letters are tangible language. becoming a member of jointly in unending combos to truly convey speech, letters show our messages and inform our tales. whereas we come across those tiny shapes countless numbers of instances an afternoon, we take without any consideration the lengthy, interesting historical past at the back of some of the most primary of human innovations -- the alphabet.

The twenty-seventh quantity of Geographers: Biobibliographical stories comprises essays protecting the geographical paintings and lasting value of 8 contributors among the past due 16th century and the early 20th century. The essays disguise early sleek geography, cartography and astronomy, geography's connections with overdue Renaissance humanism and non secular politics, 'armchair geography' and textual enquiry in African geography, scientific mapping and Siberian commute, human ecology within the Vidalian culture, radical political geography in twentieth-century united states, American agricultural geography and cultural-historical geography in Japan and in India.

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Truffaut’s decision to cast her opposite Gérard Depardieu in La Femme d’à côté (1981) changed the course of Ardant’s career. Her performance drew wide critical acclaim and won her a nomination for the César. Since her film debut, Ardant has been a consistent presence on the screen in France. She is known for her capacity to bring to life independent, intelligent, but very sensual older women, quite often in historical periods during which women were allowed to be none of these things. Some of her best-known performances can be found in Alain Resnais’s La Vie est un roman (1983) and L’Amour à Mort (1984), Truffaut’s Vivement dimanche (1983), Costa-Gavras’s Conseil de famille (1985), Michel Deville’s Le Paltoquet (1986), Pierre Beuchot’s Aventure de Catherine C.

He hired Ferdinand Zecca, a like-minded director of production, who streamlined the filmmaking process, putting the director at the center. Zecca oversaw the creation of formulaic film production, finding out what worked and repeating that formula. If something was successful, Pathé repeated it, even when it was a question of a film made by another studio. Pathé streamlined production in every way it could. It utilized teams of writers to churn out scripts, mechanized coloration of films to reduce the cost, recycled film stock to make films cheaper, began renting films instead of selling them to cut cost, and aggressively marketed and established distribution networks to insure it remained dominant.